Okay, personally I have issues with her hand, it seems your aim was giving it the blurry motion effect, but I would never recommend leaving something in the foreground with such simple structure or brushwork, because it distracts the viewer, unless the whole painting keeps such simple pattern. To fix that, I would use the regular brushes, 10% hardness, focusing on the values, lighting, so the form is distinguishable.

Another thing is the dress, you made a great work with the face, and taking into account the dress (torso) is at the same distance from us, you should have detailed it more.

I think in general, you're great for dynamism (something I'm trying to improve myself) and you have a good sense of composition, but you need to focus on volume and values.

I think my main issue is my fear of relying too heavily on references and that is giving me a lot of issues. When I try to do something that is outside from drawing from life and that is an illustration, I tend to struggle and that's when I realize that I don't draw from life enough. So I'm going to try to put a lot of time aside to do so and perhaps even a couple of deviations working on the things you mentioned in the critiques. Anyway, thank you so much.

Well, I've been there, and it's especially harsh when everybody tells you referencing is bad and you should feel bad, well everybody on the internet, because teachers always tell you that you must learn anatomy by observing it.

I recommend you something that has worked for me, and it's balance. Say, you practice some serious anatomy, with all the books, sketch like crazy, reference like there's no tomorrow, but then take a time to construct figures out of your own mental library, you'll see improvement in your work without reference, when in doubt check in the mirror. No one said you have to be a master painter tomorrow, you just need patience.

I also made my method for referencing, without guilt lol. That's what I've been meaning to make a tutorial about for ages. I just keep forgetting.